In every debtor nation there must be an element which profits directly from the creditor relation. It assumes, naturally, the aspects of "progress," and consists of the richer trading class and bankers, sustainers of politicians. Such, I take it, were the followers of Giolitti, and such was Giolitti himself, a sincere admirer of Teutonic success and believer in the economic help which Germany could render to his kind of Italian. Such men as Giolitti are easily impressed by evidences of German superiority: they identify progress with the rapid introduction of German plumbing, German hotel-keeping, German electric devices, German banks. All these, they believe, help a "backward country" to come forward. They do not understand the finer spiritual risks that such material benefits may involve. They are not as sensitive as the humble peasant, as simpler citizens, to the gradual sapping of the precious national roots, of the internal debasement that may be going on through the process of "infiltration." They are too prosperous, too cosmopolitan to feel losses in national individuality. They realize merely the better hotels, the better railways, the improved plumbing in their country. Their souls are already half-Teutonized.
In his dignified answer to the German Chancellor's vulgar attack on him in the Reichstag, Salandra referred to the long history of the Italian people, who "were civilized and leaders of the world" when the Teuton hordes were still savage. It was the spirit of that ancient civilization which did not consist primarily of industrial development that stirred in the souls of true Italians and made them scorn the advice of the Teutonized politician. He was "_traditore_" to all that nobler Italians hold dear--to the Latin tradition.
The poet prophet has so long abdicated his rights among us moderns that we are incredulous when told that he has again exercised his function. That is the reason why the story of a poet's part in leading the Italian people toward their decision is received by Americans with such skeptical humor. And Gabriele d' Annunzio in the rôle! A poet who is popularly supposed to be decadent, if not degenerate, gossipingly known for his celebrated affair with a famous actress, whose novels and plays, when not denounced for their eroticism, are very much caviar to the "wholesome" man, so full are they of a remote symbolism, so purely "literary." "Exotic" is the chosen word for the more tolerant American minds with which to describe the author of "Il Fuoco" and "San Sebastian."